An Australian author who provides insight into the human condition.

Author Christine M Knight's Blog

Saturday, July 16, 2011

Blog 3 - Belonging Minority Group Issues - Alienation

Saturday, July 16, 2011

One of the settings created for 'In and Out of Step' is a high school. It represents a microcosm of society with diverse generations. Everyone has a school experience and can relate to that environment. The school subplot, in part, works as an extended metaphor about BELONGING.

The school in the novel is a static workplace (one of the last bastions of male supremacy in fact) where the culture has become entrenched. That workplace dynamic is stable. The men are secure in their knowledge of one another including their shortcomings. Their security and comfort stems from knowledge and acceptance of the established pecking order and the way the workplace functions. A locker-room mentality and behaviour exists.

That world is threatened when a minority group (in this case, women) enters the workplace.

During the drive to the boarding house, Cassie sifted through the day’s images. The staff room was cramped and hot. The men were a defensive pack obviously resentful of female intrusion. The English Head appeared to be a control freak.

The women arrive with their focus on the job. Like all workers, they were trained to do a job; issues related to BELONGING were not part of that training. Their very presence in the workplace requires a sensitivity that the men and management are not prepared for, have not thought about, or indeed care about. The women are an alien culture that was 'understood' from a distance.

The men not only resent the presence of the women but also experience discomfort because what they see as the 'natural order of the workplace' is upset. The men want to retain the status quo although not everyone is prepared to take countermeasures to achieve it. Some men choose to be sidelined in the tacit resistance - they become bystanders.

‘Most uncharitable of you,’ Van der Huffen responded, looking at Talbut and his group of men, ‘in word and planned deed.’
‘Shabby,’ Selton added.
‘You follow our drift?’ Van der Huffen said to the men, ‘A reflection of the ignoble spirit that drives —’
‘Give it a rest,’ Fuller said. ‘We get it! You’re not party to that book.’
‘Were Selton and I ever?’
‘And sadly the wheels are already wobbling on the fac¬ulty wagon,’ Talbut said. ‘So ladies, how did you find your classes?’

The other men don't openly plot to get rid of the minority group, but they don't compromise or give ground either. Therefore, what follows is a natural resistance to change in the hope that the

In real terms in the novel, that translated to a change in the way business was done within the faculty and the withdrawal of collegiate support for the newcomers that previously had been standard practice amongst the men. The women were given the hardest and worst jobs to do. They were denied access to corporate knowledge to do the jobs. The women became isolated and alienated from the corporate group, in this case the male English teaching staff. The passive aggression of the men translated to a lack of support for the women and a subsequent shift in attitudes toward classroom discipline. Consequently, the women were subjected to abuse and harassment and expected to 'go it alone'.

The treatment of the women mirrors the previously observed and learnt behaviours of the faculty men who are entrenched and indoctrinated in the wider school system and its processes. The Coachman subplot explores how the system reacts to efforts to achieve change. His recognition of the need for change involved a partial withdrawal from the larger group and its practices. Within the wider system, Coachman is subject to the same process of estrangement as the women.

You will find the complete discussion in Belonging: A Related Text Companion: In and out of Step. You can buy the companion from this website or from Amazon

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Friday, July 15, 2011

Blog 2 - Exile

Friday, July 15, 2011


Belonging is a deep genetic drive. We are herd creatures first and foremost. You can see this in even the smallest of children who may not play together but like to play near each other.

The decision to leave the familiar circle of family and friends and move to a new area where you don't have any connections or any knowledge of the area rates high on the stress and isolation. The word bereft comes to mind for a person in such a situation. Bereft has connotations not just of a gnawing sense of loss but of an emptiness tinged with resignation to the new circumstance. That sense lingers on the edge of consciousness even when you're having a good time in your new landscape.

The theme of Belonging in 'In and Out of Step' is explored through characterisation, place context, the juxtaposition of perspectives and experiences, ritual, language, and through the extended metaphor of dance.

Part A

Focus: central character or protagonist

Techniques: characterisation, choice and use of context (place and situation), plot action, language, dialogue, use of flashback sequences, imagery, symbolism, the use of parallels and contrasts.


Cassie Sleight, a championship dancer, in seeking a seachange at the start of her teaching career, chose exile from her familiar circle of family, friends, and the dance world for compelling, personal reasons. Finding herself in an impossible situation, she opted to remove herself from the pain of it. Her pain stemmed from a change in relationship dynamics. She had found herself ousted from what had previously been a close relationship between three friends, one of whom she had considered as her soul mate (affinity). Feeling alienated and bereft, she left.

This is shown in the text by the use of contrasting characterisation and the back-stories (contextual information) of Cassie Sleight, Jake Dominguez, and Melissa Pratt. That characterisation and those back-stories show how personal values and expectations can cause conflict and result in the breakdown of relationships and alienation.

All three characters grew up in patriarchal homes - male dominated with women in traditional subservient roles. Cassie rejected the adult male and female role and relationship models of her parents' generation. She had seen the pain and disempowerment the women in that world experienced.

As children, Cassie had an affinity with Jake Dominguez and grew up with him as 'best mates'. Melissa, though a member of the friendship group did not share the close bonds held by Jake and Cassie. This is shown in the text through a flashback scene to their childhood:

The bite of winter certainly had little effect on Cassie and Jake’s games. Matched in indomitable spirit and rugged in woollen jumpers, they scaled monster trees, teeter-tottered on bikes along dam edges, and gallumped through paddocks, startling rabbits while cattle ruminated in the bending grasses. Melissa, timid and more interested in playing Barbies than adventure, lagged behind them, complaining. Under pressure from Leonie, Cassie and Jake modified their games to Hide-and-Seek so Melissa could play.

Immersed in her novel, Leonie knew little of the children’s friendship beyond the daredevil spirit of the duo and their resentment of Melissa’s intrusion. In later years, Leonie knew only that dance forged Cassie and Jake in partnership with Melissa an envious outsider (page 84).

Cassie and Jake's affinity is demonstrated by their like-mindedness in games, their shared desire for adventure, their inseparable friendship, and indomitable spirit. The word indomitable refers to a fearless and unconquerable spirit. Their relationship demonstrates the values underpinning the concept of belonging.

By contrast, Melissa's desire to be included in the friendship group demonstrates Melissa's perception that she belongs in the group. This is also the perception of Cassie's mother, Nancy, and her sister, Leonie. Melissa's perception is reflected by her complaining which represents a form of protest that her participation and interests were not considered and should have been. The fact that the children's games change to accommodate Melissa is a reflection of her claim on group membership and that she has a place within the small friendship group, albeit as a fringe member.

The excerpt clearly shows the difference between the concept and perception of belonging. It was Leonie's perception that Melissa belonged to the children's group that led to Cassie and Jake accommodating Melissa in play. Leonie was able to make Cassie and Jake include Melissa because of Leonie's role within the children's group and because the children were a subset of their respective parent's friendship group.

The excerpt also shows that from an early age, Melissa accepted and acted the role models and values in her world through Barbie games. The Barbie games symbolically represent preoccupations with body image, attractiveness, and acceptance of traditional female roles. Those interests and preoccupations place young Melissa as a potentially traditional female.

Jake's affinity with Cassie was also demonstrated in their teenage years when Cassie at sixteen experienced the grief associated with the death of a grandparent.

When her grandfather died a few months before her sixteenth birthday, she had not cried. At his funeral, the rest of the family had been awash with emotion. Her mother had been inconsolable and leant on her father. Leonie, her older sister, make-up tear-tracked and mascara running, had tried to provide support to Cassie who looked ill, but as the emotion of the service built, Leonie’s grief had given way to sobs. During the wake, Jake, Cassie’s soul mate from childhood, had found her sitting silently in her grandfather’s closet, inside Pop’s dark blue overcoat. (page 17)

Their affinity in the above excerpt is demonstrated by Jake's recognition of Cassie's emotional need, his subsequent search for her, his understanding of where she would seek solace, and his desire to comfort her. These behaviours are aspects of characterisation selected by the author to show the close bonds shared by this pair.

Cassie and Jake's relationship became increasingly contaminated by the transmitted values and expectations of the adult world around them - contextual aspects of place (physical, social, and psychological). Cassie and Jake increasingly clashed in the teenage years because Jake unthinkingly accepted the values of the male adult world around them while Cassie rejected them. In particular, Jake accepted his father's values and tried to live up to his father's expectations which were shaped by his father's culture (Spanish) and the attitudes of his father's generation. This is shown in the novel by:

Cassie knew all too well Mavis’ look. Jake’s mother and hers assumed the expression whenever their husbands flirted. Cassie had guarded against it when Jake followed his father’s lead. She knew even more the feeling: acid eating away the inner core of confidence. Was it always this way? Once possessed, always insecure?(page 146)

The metaphoric comparison to 'acid' emphasises the destructive impact of unfaithful male behaviours on women and their relationships. The use of the word 'possessed' equates marital relationships to male ownership rather than a relationship based on a mutual sense of belonging. Therefore, shared qualities that predispose people to belong together are not the sole determinant of whether or not a person ultimately feels she or he belongs. The values and attitudes of the world (place) in which a person lives also shape notions of identity, human relationships, and a sense of belonging.

You will find the complete discussion in Belonging: A Related Text Companion: In and out of Step. You can buy the companion from this website or from Buy from Amazon

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Tuesday, June 14, 2011

Blog 1 - Belonging Plot Analysis

Tuesday, June 14, 2011

As the title 'In and Out of Step' suggests, the plot is built around character relationships and the themes of:

  • belonging and alienation
  • loss and gain
  • change.

Central to the theme of BELONGING is the ripple effect of life events on relationships and in a community and the way those events and relationships shape people and their perceptions of belonging or not belonging.

The central plot revolves around Cassie Sleight's quest to belong against a backdrop of a world undergoing social change. Her story traces how Cassie is shaped by events, people, and experiences in her world - past and present. The world of Keimera functions as a character in its own right.

The story opens with Cassie arriving in the seemingly idyllic coastal NSW town of Keimera. She has discarded her dream of a career in dance and left home. Dance influences how she interprets the world and how she deals with its adversities.

Having left the familiar circle of family and friends in search of a seachange, Cassie starts her teaching career in the English faculty of Keimera High. Her workplace represents one of the last bastions of male supremacy and her male co-workers want to keep it that way. She boards at Madison House, historically significant and representing something of the former pastoral glory of the region.

In the high school setting, Cassie comes into contact with Mark Talbut, a man struggling to be modern yet threatened by power shifts in the workplace and society. At Madison House, Cassie experiences new perspectives on relationships and is challenged to become the woman she was meant to be and not what circumstance made her.

While readers learn about Cassie's new world and the barriers to her fitting in and becoming accepted, the secrets of her past surface through a series of flashback scenes. Those scenes reveal why Cassie felt she no longer belonged in the world that she left behind in Sydney and why she chose to be in exile.

As the story unfolds, Cassie realises something potentially sinister is happening in her new community. What should she do about it? Is the so-called 'good guy' really a wolf or just a man out of step with the times?

Cassie's quest to belong occurs in the workplace, in her new social and personal arenas. It is only after coming to terms with her past that she is able to move forward into a very different future. Like the phoenix rising from the ashes, she is reborn through adversity.

'She thought of all the people she had met. Some wore masks that disguised their real intent. Others remained oblivious of the impact of their actions. A number rang true like quality crystal. She was lucky to know the difference now.'

In the novel, Cassie’s journey to belong contrasts with the journeys of Mavis Mills, Michael Madison, Mark Talbut, Kate Denford, Samantha Smith, and Rajes Chandran. The stories of secondary characters add dimension to my exploration of the novel's themes. Absolutely every character experience serves a function in this about tale about life and love. You may have to think about how and why.

'In and Out of Step' is also a snapshot of Australian life and some key issues in play at the time. Those issues remain hot topics today. It is based on extensive research and placed within a fictional context.

Strands of colour,
Separate yet interwoven.
Each hue
Influences the weaving,
Defines the other.
A complex tapestry:
Indiscernible when close;
Recognisable at a distance.


HSC Area of Study students should also have a look at the 90 second YouTube dance video at   The dance video works well as a related text for BELONGING.

The team here have also provided an in depth analysis of the dance video to help students

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      Wednesday, October 10, 2018

      Reflection on 'In and Out of Step'

      Wednesday, October 10, 2018

      Set between 1988-1990, In and Out of Step’s thesis picks-up on a period of significant change in Australian social and cultural history which mirror the wider western world. The novel reflects the popular perceptions of the era and explores reaction to changing roles and values, the relationship between generations, gender dynamics, and power in society through contrasting character perspectives.  

      The novel charts Cassie Sleight's (rhymes with slate) and her generation’s journeys in new and uncharted territory in their relationships: personal, social, and work after the second wave of the women’s movement.

      Life forces the women in my novels to reassess what they are doing, how they are doing it, and to evaluate who they are and want to be.

      Through Cassie’s experiences, the reader is entertained and provoked to consider the perceptions held and dualities of women’s roles in western society. That may suggest that this is a non-fiction work masquerading as fiction. However, this aspect is firmly set in the external world of the story and Cassie’s experiences.

      In and Out of Step explores:

      • how identity and relationships are shaped by the way gender operates and gender differences
      • how place—geography, attitudes, values, and culture—shape people’s lives and actions
      • the culture that supports and promotes sexual harassment in the workforce and social spheres
      • changing perceptions of gender roles
      • adapting to change in oneself and the wider world
      • the personal, social, and workplace influences that contribute to change.

      My novelsIn and Out of Step, Life Song, Song Bird portray the diverse and changing realities of women in the time the novels are set: 1980-1990, 1996-1998, 2000-2002.  The stories are anchored in the social and historical context of each period.

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      Saturday, August 12, 2017

      Life Song - a story of metamorphosis

      Saturday, August 12, 2017

      Twenty-two-year-old Mavis Mills first appears in my novel In and Out of Step. Outgoing, gregarious, and confident, Mavis is a significant secondary character in that novel.  Mavis' story - a subplot - is used to provide contrast to and insight into Cassie Sleight's (the central character) journey. 

      At one point in the novel, effervescent Mavis is severely injured – physically, emotionally, and psychologically - by domestic violence and the fire of her partner’s rage. He also destroys her guitar and the copies of her original songs. Part of  the subplot from In and Out of Step explores the context of the domestic violence and provides insight into the psychology of it. Excuses are not made.

      At the start of Life Song, Mavis is twenty-eight-years-old and very different from the young woman who shone throughout most of In and Out of Step. She is the central character in Life Song. She has become subdued, distrustful of her own judgement, and an echo of her former self. Unexpectedly, she discovers she has a choice: continue to live a life tainted by domestic violence or seize the opportunity before her and try to rise above her circumstance and, like the phoenix bird, leave the ashes of her past life behind.

      'Could she live the rest of her life as she'd been living. She couldn't, not now she'd glimpsed another world, fleeting though that vision had been.'

      Life Song is not a cliche 'chic musician on the road' story and is definitely not a romance. It is about the woman Mavis becomes and the people who stand by her as she undergoes transformation – physical, psychological, and to an extent spiritual. She does not solve her problems in the arms of a man but makes the hard choices herself.

      The drama comes from the tugs-of-war that Mavis has to work though. It is made all the harder because Mavis' heart is in conflict with itself. One person, no matter how strong, cannot win a tug-of-war alone. The same applies to Mavis.

      Readers learn about the things that give Mavis strength and that enable her to boldly embrace the inevitable changes coming into her life as she becomes Nikki Mills, the Song Bird from Oz.

      I recommend you listen to two songs from that novel: Sunshine Days and Life Song (A Vision Splendid) to get a feel for this story.

      There are many kinds of wins in life, most of them personal rather than widely acclaimed. It's those personal 'brave heart' moments that define Mavis. Reader feedback through my publisher and website is that Life Song is a gratifying read.

      As part of your journey in reading this blog,  I suggest you listen to Move On.  In my imagination, it is first sung by Mavis' support network, but ultimately the song becomes her personal mantra.

      Australia is a diverse landscape and has diverse communities. Life Song gives readers an opportunity to spend time in some of those communities. The title alludes to the fact that each character's life has its own melody and when sung in concert become the symphony that is Life Song


      Life Song is one of four novels in The Keimera Series. Each novel is a standalone narrative and has the backstory woven into it.  The Keimera Series is an opus.

      Keimera does not in any way allude to chimeraa monstrous fire-breathing hybrid creature from Greek mythology.

      If you would like to lend me your support so that I can produce more music from my novels, you can buy any of my songs from CD Baby.  Each of my songs can be purchased for the very small price of $1.69. My music is also on iTunes and other major online music sellers as well.

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      Sunday, June 25, 2017

      The story behind my song 'The Flame'

      Sunday, June 25, 2017

      'The Flame' features in my novel ‘Song Bird’. In the novel, it is sung by rock legend Rick Brody who serenades Nikki Mills (the central character in the novel). In real life, it was sung by Funnie Williams and Thanapat Yarchartoen (aka Film). I produced the song through Karma Sound Studios in Thailand.

      BACKSTORY TO 'THE FLAME' - The Singer or the Song?

      In ‘Song Bird’ and its prequel 'Life Song', Nikki Mills - the Girl from Oz - is a survivor of domestic violence. Once an innocent, she believed the very convincing serenade of her first significant love, Terry Kikby. Long before Nikki met Rick, his song 'The Flame' resonated with her.  She believed that Rick's songs really expressed his own ideas and values.

      Having been at the top of the music industry for sixteen years, Rick finds his music is dropping in the charts. Defined by his 'bad boy' image, he has lost sight of his real self. Consequently,  his music has lost its connection with his fan base. Interested in Nikki as a woman as much as in her skill as a lyricist, Rick collaborates with Nikki on a new album. 

      Flattered by Rick's interest in her and impressed by 'The Flame', Nikki embarks on a relationship with him.  A subplot in the novel explores the ramifications of that decision.  Can she help Rick find the heart that his music once had?  Will Nikki be hurt or healed by the relationship with him?  The answers are found in my novel 'Song Bird'. 

      Readers of this blog may also find the pop rock song 'Masque' and interesting insight into Rick and Nikki's relationship issues.

      I currently have 8 songs on CD Baby and iTunes. You can help me raise the money to produce the rest of my songs by buying one or more of my songs at the very small price of $1.69 per song. They are on sale at CD Baby and  iTunes. Online music streaming services such as Spotify and Deezer promote my music, but I only earn approximately one cent per one hundred streams. 

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    • Media article about Christine's music


      Christine's rock song 'Masque' featured in an article on Marquix TV ( and Avastar (
    • As engaging as Bohemian Rhapsody


      Are you tired of dark narratives on TV, in the cinema, and on the news? Then escape into the world of 'Life Song' and 'Song Bird' , available on Amazon and other major online sellers. Th..
    • Christine M Knight's music update


      Thank you for visiting Christine M Knight's website. She is not only an author of wonderful novels but also a song composer and producer.. We ask you to help Christine's music cross over to comm..

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